Solo Exhibitions by the Second Artists in CCN Residency(KIM Minhyung)
\r\nKIM Minhyung : Swich ON
\r\nKIM Minhyung
\r\n2025-11-27 ~ 2025-12-12
\r\nExhibition Hall in CCN Residency
\r\nintroduction
\r\nCCN Residency will hold individual exhibitions of the second residency artists in a relay format. This exhibition will be a place to reflect on the meaning of creative activities here and gauge the direction of creation that will take place during the remaining residency by exhibiting the past representative works and new works which has been produced since they moved into this studios in April this year.\r\nKim Minhyung, the fifth artist of the Solo Exhibitions by the Second Artists in CCN Residency, has been producing installation works on the theme of the modern consumer society and the popular desire projected in it. The title of this exhibition, \"Switch ON\", means the moment when the light is turned on and public desire is activated, and the exhibition hall consists of four installation works that sensibly reveal the theme. The artist will install works that reproduce the stage of consumption in the form of a pop-up store, works that contain the phenomenon of expressing desire by borrowing the words of beauty magazine, and works that combine the order of desire contained in cosmetics with the structure of the city. The exhibition hall becomes a space for experiencing and thinking anew about the circulation mechanisms of desire and consumption that operate on a daily basis by converting familiar popular images into unfamiliar symbols and converting the way of perception.
Artist’s Note
\r\n1. turn on a switch (such as an electric light)
\r\n2. to be in a state of hallucination
\r\n3. keep up with the latest fashions
As soon as the light is turned on, the senses are changed. \"Switch ON\" started from an interest in how the desires of the modern consumer society work and circulate in our daily lives. \"Switch on\" means a psychological turning point where desire is ignited through the beginning of sensory excitement and fantasy beyond simple lighting. This exhibition visually reconstructs the moment of \"lighting\"—the moment when the light is turned on, the desire is activated, and the individual's fantasy is expanded into real space.\r\n\r\n \r\nThe installation of \"English Cider\" at the entrance is reminiscent of a pop-up store, and invites the audience to a stage of consumption and a place of temptation. This space, in which candles are repeatedly arranged, reveals the image of consumption as a 'product' and an 'object', and presents the surface of desire like a sparkling advertisement. This space, which is reflected and distorted, forms a space of desire that grows infinitely and blurs the boundary between reality and fantasy. The moment the audience reflects their appearance like the image in an advertisement, they exist at the same time as the subject of consumption and as an object. The neon text \"Drink Me\" that shines above it leads the audience to a deeper dimension of fantasy, just like the spell in the movie Alice in Wonderland. The sentence \"Drink Me\" is a metaphor for consumption and a signal to enter this exhibition as an invitation to participate.\r\n\r\n\"Ad Copy\" is a rearrangement of five advertising sentences extracted from the beauty magazine Allure. The sentences of rhythm and temptation of the advertising language are presented in parallel on the wall, and the dots under them remain the remnants of the image. This is a process in which language that stimulates desire is translated into visual patterns, and is a work that experiments the gap between 'what is seen' and 'what is read'. The audience reads these sentences at the same time and experiences visual vibration, and faces the moment when the senses are turned on once again.\r\n\r\nIn the center of the exhibition hall, a mosaic work consisting of 105 panels is installed. By enlarging and pixelating the texture of cosmetics, it visualizes that the surface of desire resembles the structure of the city. I pay attention to cosmetics, which are the lowest entry point for luxury consumption, and are called small luxury. Cosmetics is the most everyday medium of desire that embellishes the self and expresses identity, and the code of \"beauty\" defined by society is engraved in units of fine colors on its surface. I disassemble the surface of these products and transform the order of desire hidden in them into an urban structure. The enlarged texture of cosmetics is no longer a trace of skin or color, but is read like a grid of cities or a plane of architecture. Each panel is a social landscape in which individual desires are directly directed, and it is like an artificial map composed of consumption patterns.\r\n\r\nThe next space leads to the installation of objects in which desire is condensed with matter. I transform and combine everyday objects to visually reveal how the symbols of consumer society work. This series of objects is like a real 'show window' and reveals the layers of human desire hidden under the shiny surface. They are both real objects and virtual visions, and through this, I show how the desires of consumer society are circulated and reproduced in our daily lives.\r\n\r\n \r\nIn the last space, tape is layered to fill the wall. I like the stickyness and artificial gloss of tape. The temporality and instability of the material seem to be a simple repetition of the material, but the spectrum of this color is the result of condensation of all the senses that have passed through this exhibition. Tape is the most common consumer goods and a tool to connect and partition surfaces. The bands of overlapping colors show a state translated into visual rhythms, as if to summarize the senses of the entire exhibition. The physical properties of tape are thin and persistent at the same time, and symbolize the property of repeated reproduction of desire without disappearing.\r\n\r\nThe moment the light is turned on, the senses rewrite reality, and things reveal their desires.\r\n\r\nWe're still on Switch ON
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